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This 'ballet blanc' is a gem, led by two ballerinas representing the violin and the alto (Julie Kent and Paloma Herrera respectively), and a male cavalier (Marcelo Gomes). The first movement has vigorous patterns for the female corps de ballet. The two ballerinas seem to mirror and echo each other in a continuous dialogue which is fascinating. The danseur appears in the second movement which has six demi-soloists. The danseur and the two ballerinas frequently form beautiful patterns with their linked arms. And the finale is an exhilarating and eye-filling spectacle, as expected from Balanchine.

Julie Kent exuded dignity, grace and refinement in her dancing. Paloma Herrera seemed to be rather coarse in comparison. Marcelo Gomes danced nobly as the cavalier.
 

This Paris programme also included a pas de deux which will not be seen in London this coming week. "Diana and Acteon" is a Soviet virtuoso pas de deux choreographed in 1935 by Agrippina Vaganova, and later restaged by Nureyev for the ABT in 1973. It was superlatively danced by Xiomara Reyes and Jose Manuel Carreno. Carreno drew loud applause for his high soaring jumps, his breathtaking series of coupes jetes en manege, and his multiple pirouettes. His every landing after his jumps was dead accurate. Reyes' spectacular series of fouettes was most exciting.

The programme also included two other ballets which will be shown in London this week. The somewhat sentimental pas de deux "Sinatra Suite", choreographed by Twyla Tharp for Baryshnikov in 1983 as a homage to Fred Astaire and Ginger Rogers, was stylishly danced by Angel Corella and Misty Copeland. The first song "Strangers in The Night" has a lot of big lifts. Tharp's choreography for the song "My Way" is quite moving. Corella danced intensely in a 'turning' solo at the end.

Kurt Jooss' 1932 expressionist ballet "The Green Table", powerfully led by David Hallberg as the death figure, is dated and tedious though. There are eight episodes beginning and ending with the memorable sinister tableau of men dressed in black on both sides of a green table firing gunshots at the end. The episodes depict soldiers, grieving women, profiteers gaining illegally from warfare. I found the work relentlessly gloomy and depressing.